A Mirror and Focus for the Jazz Community September 2018 Vol. 34, No. 09 EARSHOT JAZZSeattle, Washington Jovino Santos Neto Photo by Daniel Sheehan LETTER FROM THE DIRECTOR Listening Forward to October 7! The 30th Earshot Jazz Festival is right around the corner, and we are stoked to the maximum. The schedule is all set, tickets are on sale, and further details are on their way to metaphorical telephone poles all around the city. This is going to be fun!! We’re going to come out swinging hard on October 7, with events at KEXP, the Triple Door, and Lo-Fi, and continue with more than 60 events in venues all around the city through November 4. Each ensemble in each concert holds its own special magic, but as a whole, this festival reflects Seattle’s distinctive taste for innovation, and captures a panorama snapshot of the ever-expanding universe of jazz, “America’s greatest gift to world culture.” Over its 30-year history, the Earshot festival has presented many of the giants of the art form from around the world. (I’m hoping to include a full list in next month’s issue.) In serving Seattle artists, educators, and audi- ences over that time, Earshot has also come to reflect the “personality” of Seattle’s creative community, presenting an overall lineup that includes over 60% Seattle resident artists, and engaging audiences with compel- ling music that reflects both the history and the progression of the music. Every advancement in art comes from individual challenges to existing structures. That’s where jazz lives. Earshot Jazz is known for its commit- ments to risk-taking, and we’re blessed with beautiful and hip audiences, like yourselves, who are eager for the “sound of surprise.” We are proud to begin a series of concerts in collaboration with Seattle’s new non-profit, Langston, resident at the Langston Hughes Performing Arts Institute, especially within the context of Langston’s mission of “Cul- tivating Black Brilliance.” We are also delighted that the “Within Earshot” series, at the Bainbridge Island Museum of Art, will continue this year, throughout the month of October. We are super excited to host a four-day residency with composer and NEA Jazz Master Maria Schneider in collab- oration with the Seattle Repertory Jazz Orchestra, and happy to welcome new community partners along with our established collaborators. I originally was thinking to make a list here of all of the concerts I am most looking forward to, and why, but I would need a couple more pages. There are some incredible opportunities on this year’s schedule. Don’t hesi- tate to contact the office, or shoot me an e-mail at [email protected] with any questions or comments. My door is so open that there isn’t even a door. I look forward to hearing from you. –John Gilbreath, Executive Director 2 • EARSHOT JAZZ • September 2018 EARSHOT JAZZ NOTES A Mirror and Focus for the Jazz Community Seattle JazzED Announces New music/jazz studies are encouraged to Executive Director John Gilbreath Housing apply. Candidates must have excellent Managing Director Karen Caropepe Programs Manager Tara Peters Seattle JazzED recently announced communication, time management, Marketing & Development Associate Lucienne that it acquired a new property in the and organizational skills, and profes- Aggarwal heart of Rainier Valley to build a per- sional phone and e-mail manners. Earshot Jazz Editor Caitlin Peterkin manent musical home. In partnership Having a car is a major plus; a passion for the arts is a must! Contributing Writers Lucienne Aggarwal, with Capitol Hill Housing, the jazz ed- Levi Gillis, Marianne Gonterman, Ian Gwin, ucation non-profit announced that its Interested applicants should e- Peter Monaghan, Tara Peters, Paul Rauch new facility, which will also have 100 mail a cover letter and resume to [email protected] by September 20. Calendar Editors Casey Adams, Jane units of affordable housing, addresses Emerson & Caitlin Peterkin the issue of equitable access to oppor- Instrumental Ladies of Jazz: Tobi Photography Daniel Sheehan tunity in Seattle. As Seattle JazzED Stone & Ann Reynolds Layout Tara Peters has grown in the last eight years from Instrumental Ladies: The Duos kicks Distribution Karen Caropepe, Dan Dubie & serving 56 young musicians to more Earshot Jazz volunteers off its next season on September 21 at than 900, this new project aims to Caffe Musica with saxophonist/clari- Send Calendar Information to: reach even more aspiring jazz students 3429 Fremont Place N, #309 netist/flutist Tobi Stone joining pia- and become a youth performing arts Seattle, WA 98103 nist/composer Ann Reynolds. Caffe hub for the students of the Seattle re- email / [email protected] Musica (14300 Greenwood Ave N) gion. With their set fundraising and Board of Directors Danielle Leigh presents this series on the third Friday construction goals, Seattle JazzED an- (President), John W. Comerford (Vice of the month, from 7 to 9pm to show- ticipates moving into its new home by President), Jon Perrino (Secretary), Viren case women instrumentalists who play Kamdar (Treasurer), Sue Coliton, Sheila summer 2021. jazz in Seattle. Cover $10. Reserva- Hughes, Chris Icasiano, Ruby Smith Love, Clarence Acox, founding music di- tions at 206-418-6797. Visit the Face- Diane Wah rector, says, “I imagine a lot of creativ- book page for more upcoming events. Emeritus Board Members Clarence Acox, ity in the new building and a lot of Taina Honkalehto, Hideo Makihara, beautiful music being made. I think SWOJO Announces Winner of the Kenneth W. Masters, Lola Pedrini, Paul any place where people can share ideas 6th Annual Jazz Composition Toliver, Cuong Vu and have respect for each other’s point Contest for Women Composers Founded in 1984 by Paul de Barros, of view and culture is a good place. The 2018 winning composition of Gary Bannister, and Allen Youngblood. There’s such a divide now, we need Earshot Jazz is published monthly by the sixth annual jazz composition con- Earshot Jazz Society of Seattle and is that more than ever. This building is a test is A Step to My Dream by Tracy available online at www.earshot.org. good place to start.” Yang, while the Honorable Mention To learn more about the project, vis- composition is Dark and Grey by Tra- Subscription (with membership): $35 it seattlejazzed.org. 3429 Fremont Place #309 cy Yang. This is the first time the same Seattle, WA 98103 Earshot Jazz Seeks Festival composer was awarded Winner and phone / (206) 547-6763 Interns Honorable Mention. ISSN 1077-0984 Tracy Yang is a composer, arranger Earshot Jazz Earshot Jazz is now accepting appli- Printed by Pacific Publishing Company and performer from Taiwan. She was cations for its 2018 Festival Internship © 2018 Earshot Jazz Society of Seattle first exposed to music at the age of five, program. learning classical piano and violin. Internships run from September Throughout elementary school, she MISSION STATEMENT through November and are part-time, was also introduced to percussion in- To ensure the legacy and progression with some evening and weekend work. struments such as marimba and vibra- of the art form, Earshot Jazz cultivates Internships are unpaid, but can be for phone. Yang attended Berklee College a vibrant jazz community by engaging course credit where necessary. of Music and obtained her Diploma in audiences, celebrating artists, and Students pursuing a degree in com- supporting arts education. munications, arts management, arts administration, publication arts, and CONTINUED ON PAGE 17 September 2018 • EARSHOT JAZZ • 3 IN MEMORIAM / / / / Bud Young: A “Great Booster” of Seattle Jazz Bud Young, one of the most recognized figures in Seattle jazz of the last 35 years, has died. In July 1982, after retiring from Montgomery Ward & Co. in Chicago, Bud opened Bud’s Jazz Records at 1st and Jackson, near Pioneer Square. It served as a gath- ering place for students of jazz from Seattle and far afield. DownBeat magazine recognized Bud’s as one of the best jazz stores in the country. Its reputation, fueled by the store’s diverse and extensive stock and the certainty that Bud could share informed BUD YOUNG STANDING WITH JAMES RASMUSSEN. PHOTO BY DANIEL SHEEHAN. comments about everything he sold, attracted fans and musicians put the two together and came out to beginning in the 1990s with saxo- from around the world. In an auto- Seattle and found this place. The rest phonist Don Lanphere. graph book, Bud collected signatures is history.” In social media postings, many musi- from the likes of Branford Marsalis, James Rasmussen, who had worked cians have paid tribute to Bud. James Moody, and Dizzy Gillespie. for Bud for 11 years, bought the store Trumpeter Thomas Marriott re- Born in Boston, Young listened to in 1999. But in 2008, with changing flected: “When my brother and I were swing music during the 1930s before music-buying patterns, James shut teenagers we spent many hours and it was popular, and as a student at Co- down what Seattle Times jazz critic dollars in there. Bud always had a rec- lumbia University in New York during Paul de Barros called “the homey ommendation, the new DownBeat, hot the 1940s, he frequented the clubs of basement hub and hangout for Seattle new release, etc. It was a paradise for 52nd Street, hearing the likes of Dizzy jazz musicians and fans.” At the time, jazz nerds and Bud always supported Gillespie and Charlie Parker. When he Bud said: “I’m a little sad, but that is the local musicians by stocking their moved to Chicago, he discovered the a very small percentage of what I feel. albums. … He gave a lot of love and Jazz Record Mart, an all-jazz record The dominating feeling that I have is a attention to the musicians and the mu- store that would serve as the model for degree of pride in the accomplishment sic and I’m very grateful to have called his own shop.